NOVEL, a prose narrative of fictitious events connected by a plot, and involv ing portraitures of character and de scriptions of scenery. Is generally ap plied to narratives of everyday life and manners; while the romance deals with what is ideal, marvelous, mysterious, or supernatural. Prose fiction written for entertainment is of considerable an tiquity. Among the Greeks we find mention of a collection of stories known as the "Milesian Tales," before which a sort of historical romance, the "Cyro pzedia," had been produced by Xenophon (430-357 B. c.). There were several other Greek writers of fiction before the Christian era, but the most notable name is that of Heliodorus in the 4th century after Christ. He was followed by Achilles Tatius and by Longus. Among the Romans the chief names are Petronius Arbiter and Apuleius.
The romances of the Middle Ages were metrical in form. The true novel, as understood to-day, had its beginnings in the stories of Boccaccio's "Decam eron" (1358). The success of this col lec' ion gave rise to numberless imita tions, and since that time the develop ment of the novel has been steadily progressive. At first we have nothing but tales of love intrigue, as in the "Decameron," in the "Hundred New Tales" (15th century), and the "Hep tameron" of Margaret of Navarre (1559). But during the 16th and 17th centuries there is very marked progress, and we now find produced the comic ro mance, the pievresque romance or ro mance of amusing roguery, and the pastoral romance. The first variety is worthily represented by the "Gargan tua" and "Pantagruel" of Rabelais (died 1553). Next in point of date comes the "Life of Bertoldo" of Julio Cesare Croce, a narrative of the humor ous and successful exploits of a clever peasant. Some years after appeared the "Don Quixote" of Cervantes (1605), which gave the death-blow to the ro mance of chivalry.About the same time the first of the picaresque romances appeared in Spain. Matteo Aleman gives us in Guzman Alfarache a hero who is successively beggar, swindler, student, and galley-slave, and is said to have suggested to Le Sage the idea of "Gil Blas." The "Arcadia" of Sir Philip Sydney blends pastoral with chivalrous manners, and marks the transition to the romances of conven tional love and metaphysical gallantry. In the 17th century prose fiction in most of its leading types had become an estab lished form of literature in the prin cipal languages of Europe.
The full-fledged modern English novel may be said to date from Defoe. The effect of his "Robinson Crusoe," "Colonel Jack," "Moll Flanders," etc., is caused by the delineation and skillful combination of practical details, which give to the adventures the force of real ities. The novel of everyday life was further improved by Richardson, Field ing, and Smollett. The "Tristram Shandy" of Sterne displays admirable character painting, and humor deeper and finer in quality than that of his contemporaries. Next appeared Gold smith's "Vicar of Wakefield," which possesses a higher moral tone than any that had preceded it. Among the best works of secondary rank may be men tioned Johnson's "Rasselas," Madame D'Arblay's "Evelina," and Beckford's "Vathek." Tales of terror and the supernatural for a time held sway, as exemplified in the romances of Mrs. Radcliffe, author of "The Mysteries of Udolpho"; M. G. Lewis's "The Monk," and Maturin's "Me'moth." A return to stricter real ism is manifested in Miss Edgeworth and Miss Austen, who describe domestic life with minuteness, good sense, a clear moral aim, and charming simplicity of style.
In France, among the novels treating of social life in the 18th century the most prominent are the "Life of Marianne" and the "Successful Peas ant" of Marivaux, "Manon l'Escaut" by the Abbe Prevost, the "New Heloise," and the "Emile" of Rousseau, containing the author's theories of love, education, religion, and society. In the department of humorous and satirical fiction the palm belongs to Le Sage, author of "Gil Blas," the "Lame Devil," etc. As a writer of satirical fiction Voltaire is entitled to high rank by his "Candide," "Zadig," "Princess of Baby lon," etc. The translation of the "Ara bian Nights' Entertainments" by Gal land (1704-1717) revived the taste for the exaggerations of Eastern fiction. In Germany three great names tower above all others—Wieland; Jean Paul Richter, whose works abound in strokes of humor, pathos, and fancy; and Goethe, whose novels are attempts to represent or solve the great problems of life and destiny. Popular romantic legendary tales (Volksmarchen) con stitute a special department of German literature, which was successfully cul tivated by Ludwig Tieck, De la Motte Fouque, Chamisso, Clemens Brentano, Zschokke, Hoffmann, Musaus, and others.